Paranoid was not only Black Sabbaths most popular record (it was a number one smash in the U.K., and Paranoid and Iron Man both scraped the U.S. charts despite virtually nonexistent radio play), it also stands as one of the greatest and most influential heavy metal albums of all time. Paranoid refined Black Sabbaths signature sound -- crushingly loud, minor-key dirges loosely based on heavy blues-rock -- and applied it to a newly consistent set of songs with utterly memorable riffs, most of which now rank as all-time metal classics. Where the extended, multi-sectioned songs on the debut sometimes felt like aimless jams, their counterparts on Paranoid have been given focus and direction, lending an epic drama to now-standards like War Pigs and Iron Man (which sports one of the most immediately identifiable riffs in metal history). The subject matter is unrelentingly, obsessively dark, covering both supernatural/sci-fi horrors and the real-life traumas of death, war, nuclear annihilation, mental illness, drug hallucinations, and narcotic abuse. Yet Sabbath make it totally convincing, thanks to the crawling, muddled bleakness and bad-trip depression evoked so frighteningly well by their music. Even the qualities that made critics deplore the album (and the group) for years increase the overall effect -- the technical simplicity of Ozzy Osbournes vocals and Tony Iommis lead guitar vocabulary, the spots when the lyrics sink into melodrama or awkwardness, the lack of subtlety, and the infrequent dynamic contrast. Everything adds up to more than the sum of its parts, as though the anxieties behind the music simply demanded that the band achieve catharsis by steamrolling everything in their path, including their own limitations. Monolithic and primally powerful, Paranoid defined the sound and style of heavy metal more than any other record in rock history. ~ Steve Huey
Rovi
一般的に、近年のリマスター/再発は、ノイズ除去のかけすぎ
コンプレッションによる平板化、EQ の誇張(高域の持ち上げすぎ/低域の肥大)…といった処理で ディテールは見やすいけど、録音当時の「空気の層」が削がれる という状態になりがちです。
しかし このRhino Hi-Fi 盤は、
テープ本来の質感を削らないミニマルな処理、Kevin Gray の“音像の整理だけして、過剰に触らない”マスタリング哲学、180g の静かなプレスによる S/N の向上(結果として余韻が見える)
これらが合わさり、余韻・部屋鳴り・微妙なざらつきなどが“ほぼそのまま”残っている。
だから、70’sの荒々しい生々しさが残っているのに、なぜか見通しが良くて聴きやすいです。
むしろ、最近の再発盤では珍しいほど、
「素材への敬意」と「現代的な明瞭さ」が両立している」
という、絶妙な地点にあります。
“ヴィンテージの味を残しつつ現代的に聴かせる”という意味では、
現行の Paranoid では 最良 と言って差し支えない仕上がりでしょう。